Distributed in the United States and internationally by Naxos and Gloriae Dei Cantores Recordings, the choir’s discography of over 50 recordings showcases their extensive repertoire, encompassing both masterworks and rarely performed musical treasures from Gregorian chant to the 21st century.

Highlights of the choir’s career include three invitational tours of Russia, opening the 900th anniversary of St. Mark’s Basilica in Venice, Italy, live radio and television broadcasts with the BBC, film soundtracks, the tree-lighting ceremony at Rockefeller Plaza, and performances in some of the finest concert halls throughout Europe and the United States.

Gloriæ Dei Cantores makes its home at the Church of the Transfiguration in Orleans, MA, where the choir sings weekly worship services, concerts, and recordings throughout the year. The members’ ongoing life of worship – Sunday Eucharist, Choral Evensong and Liturgy of the Hours in Gregorian chant – is the foundation of the choir’s artistry, enabling their extensive repertoire to become a vibrant form of prayer in any setting. Their music conveys “a kind of utter, rapt, spiritual intensity, that you simply can’t imagine unless you’ve experienced it for yourself.” (American Record Guide)

In the 2022-23 season Andrew sang the role of Urlias in Reinhard Keiser’s Ulysses with the Schwetzinger Festspiele, debated with Semperoper Dresden as Director Hummel in Aribert Reimann’s The Ghost Sonata, appeared as bass soloist in Carnegie Hall in Beethoven’s Mass in C, and made his debut with Opéra Comique, Paris singing the role of Councilman in Breaking the Waves by Missy Mazzoli. In the 2021-22 season Nolen sang the role of Jagu in Paderewski’s Manru and the roles of Quarantine Master and University Chancellor in Dream game by Aribert Reimann with Oper Halle, made his debut on the stage of Komische Oper Berlin singing various roles in Barrie Kosky’s production of The Nose by Shostakovich, as well as singing the bass solos in Haydn’s Creation Fair at St. Bart’s Cathedral in New York City. In 2021 he Banco sang in Macbeth with Mecklenburg State Theatre Schwerin and the world premiere of In the stone by Sara Glojnarić and Clemens Meyer with Oper Halle.

Mr. Nolen has performed on international stages including Carnegie Hall, Semperoper Dresden, Komische Oper Berlin, Opéra Comique, Paris, Avery Fisher Hall and Alice Tully Hall at Lincoln Center, New York, Deutsche Oper am Rhein Düsseldorf, Oper Bonn, Oper Dortmund, Santa Fe Opera, Opera Theater of St. Louis, and has toured with The Wooster Group to Brussels, Rotterdam, Edinborough, Luxembourg, New York and Los Angeles. Mr. Nolen has recorded with Bridge Records and can be heard as the bass soloist on Naxos of America’s box set of Haydn’s complete masses with maestra Jane Glover. As an ensemble member of Theater Krefeld-Mönchengladbach from 2011 to 2018, he sang twenty-three roles including Leporello in Don Giovanni, Oroveso in Norma, Swallow in Peter Grimes, Basilio in The Barbers of Siviglia, and the title role in The Marriage of Figaro.

Nolen trained at Oberlin Conservatory, Cincinnati Conservatory, and the Juilliard Opera Center, and was an apprentice artist with Seattle Opera, Santa Fe Opera, and Opera Theater of St. Louis. He has worked under the direction of distinguished stage directors and conductors including Colin Graham, Elizabeth LeCompte, Frank Corsaro, Julius Rudel, Robert Shaw, Ton Koopman, Jane Glover, Robert Spano, Stephen Lord, and is frequently the bass of choice for composers to premiere new works.

An active choral artist based in New York, Mr. Vanderwal often performs intimate salon recitals and has been a core ensemble member of several choirs including The Choir of Trinity Wall Street, Clarion, Western Wind, The Four Nations Ensemble, and The Waverly Consort. He has recorded under the Allegro, Delos, Pro Musica Gloriae, and Koch International record labels and has won several awards in national vocal competitions.

She also sang with the Boston Pops in Symphony Hall, under the direction of John Williams. She can be heard on Gloriæ Dei Cantores albums including Herbert Howells, A Prophecy of Peace: The Choral Works of Samuel Adler, Mozart: Rare Choral Works, American Psalmody II: The Lord is my Shepherd, and The Coming of Christ. Sr. Amanda has studied Gregorian Chant with the late Dr. Mary Berry, and voice with Andrew Nolen, James Demler, Dorothy Richardson, Richard K. Pugsley, and with the acclaimed vocal pedagogy teacher, Richard Miller. Throughout her musical career, she has shared her gifts and love of the Arts with students, helping lead workshops in countries including South Africa, South Korea, Canada, and across the United States.

Kathryn’s second commercial album, Inheritance, will be released in 2026, and features the stunning compositions of living American composers Lori Laitman, Eric Whitacre, Evan Mack, Juliana Hall, David Sisco, Matthew Recio, and Jason Weisinger. In 2023, Kathryn released her first commercial album, Before She Became Fire, presenting a collection of remarkable compositions for mezzo-soprano voice and piano, and showcasing the artistry of American women composers, Lori Laitman, Judith Cloud, and Melissa Dunphy.

As a mezzo-soprano soloist on the concert stage, Kathryn has performed at Carnegie Hall, the Ravinia Festival, the Grant Park Music Festival, the Boise Philharmonic, with the Los Angeles Philharmonic at the Hollywood Bowl, and the Boston Symphony Orchestra at the Tanglewood Music Festival. She performed with Chicago’s Music of the Baroque in both Haydn’s Missa in Angustiis and Paukenmesse, with the Apollo Chorus of Chicago in Händel’s Messiah, and with Gloriae Dei Cantores in Mahler’s Symphony No. 2, Mozart’s Requiem, and Vaughan Williams’ The Pilgrim’s Progress. She has also performed multiple times with the Richmond Symphony, presenting Berlioz’s Les nuits d’été, Berlioz’s Roméo et Juliette, and Mendelssohn’s Die erste Walpurgisnacht. Kathryn’s performance of Les nuits d’été was graciously embraced: “Her dark lower register tones seemed to fill the considerable space of the Carpenter Theatre and impose a profound quiet on both the accompanying musicians and the audience. It was a remarkable display of artistry exercising spell-binding authority,” (Virginia Classical Music).

As a singer in the competition arena, Kathryn has won several prizes, most notably with the Shreveport Opera, the New York Lyric Opera, the Opera at Florham, the Bel Canto Competition, the Heida Hermanns Competition, the National Opera Association, the Opera Birmingham, the Florida Grand Opera, the Gerda Lissner Foundation, the Fort Worth McCammon Foundation, the Licia Albanese-Puccini Foundation, the Sullivan Foundation, the George London Foundation, the Giulio Gari Foundation, the Orpheus Vocal Competition, and the Opera Columbus Vocal Competition. She was a National Semi-Finalist in the Metropolitan Opera National Council Auditions.

Kathryn holds a Bachelor of Music degree from the Oberlin College Conservatory of Music, a Master of Music degree from the Indiana University Jacobs School of Music, and a Doctor of Musical Arts degree from the University of Cincinnati College-Conservatory of Music. She was a young artist with the Lyric Opera of Chicago’s Ryan Opera Center, Opera Theatre St. Louis’ Gerdine Young Artist Program, Ravinia’s Steans Institute, and the Tanglewood Music Center. In addition to performing internationally, she is an Associate Professor of Voice and Opera at Temple University’s Boyer College of Music and Dance in Philadelphia. Kathryn is a native of Columbus, Ohio.

Among his 2025-26 engagements, the tenor returned to the Commonwealth Shakespeare Company as Fezziwig in A Christmas Carol, followed by Iopas in Les Troyens à Carthage with the Boston Youth Symphony Orchestras, and the Duchess of Krakenthorp in Boston Lyric Opera’s new production of Daughter of the Regiment. In the upcoming season, Ferreira will sing roles in A Streetcar Named Desire with Boston Lyric Opera and Pique Dame with the Boston Symphony Orchestra.

A much sought-after interpreter of new music, Mr. Ferreira made his European debut in 2021 as
Laertes in the world premiere of Joseph Summer’s Hamlet with State Opera Rousse, Bulgaria.
His successful performance as the Visitor in Boston Lyric Opera’s production of Philip Glass’ In
the Penal Colony was called “poignant” by the Wall Street Journal and “perfect” by Opera
News. The tenor can be heard on the premiere recordings of numerous operas, including Dominick Argento’s The Voyage of Edgar Allan Poe, Charles Wuorinen’s Haroun and the Sea of Stories, James MacMillan’s Clemency, Joseph Summer’s The Tempest, and Mario Castenuovo Tedesco’s The Importance of Being Earnest.

In a professional career spanning more than two decades, Ferreira has also appeared with Florida Grand Opera, the Glimmerglass Festival, Opera Colorado, Virginia Opera, Anchorage Opera, American Repertory Theater, Handel and Haydn Society, Emmanuel Music, and Guerilla Opera. He is a proud student of internationally renowned tenor Frank Lopardo. In addition to performing, Ferreira is an Assistant Professor of Voice at Berklee College of Music.

Career highlights include Col. Alvaro Gomez in The Exterminating Angel by Thomas Adès at the Metropolitan Opera, the Royal Opera House Covent Garden, and the Salzburger Festspiele, where he originated the role with Adès; Horatio in Brett Dean’s Hamlet at the Metropolitan Opera; Demetrius in A Midsummer Night’s Dream at Teatro alla Scala; Carmina Burana at Carnegie Hall with the Orchestra of St. Luke’s; Carmina Burana with the Jerusalem Symphony; Stanley Kowalski in A Streetcar Named Desire at Teatro Colón, Buenos Aires, and Lyric Opera of Chicago; Prior Walter in Peter Eötvös’ Angels in America with the Los Angeles Philharmonic, the BBC Symphony Orchestra, and Neue Oper Wien; Joseph DeRocher in a new production of Jake Heggie’s Dead Man Walking for Hungarian State Opera, with designs based on Moore’s documentary photography from Angola Prison; the title role in David T. Little’s monodrama Soldier Songs with L.A. Opera; Don Giovanni with Staatsoper Hannover and Nationaltheater Mannheim, Billy Budd with Israeli Opera and Pittsburgh Opera; Maximilian in Candide at Teatro alla Scala, Théâtre du Châtelet, and Orchard Hall Tokyo; Papageno in Die Zauberflöte at New York City Opera; Figaro in Il barbiere di Siviglia with Staatsoper Hannover and Seattle Opera; and Judy Fry in Oklahoma! In a new production at Lyric Opera of Chicago.

Recent world premieres include Abbott Cuno in Sarah Kirkland Snider’s Hildegard with L.A. Opera in a performance hailed by the New York Times as “authoritatively mighty, but capable of chilling tenderness,” Tom in Mary Kouyoumdjian’s opera, Adoration, which premiered at L.A. Opera and the Prototype Festival, then went on to earn a Grammy nomination for Best Opera Recording. This season, David creates the role of Benjamin Franklin in Laura Kaminsky’s The Post Office at Brooklyn Academy of Music, with designs by legendary architect and visual artist, Charles Renfro, of Diller, Scofidio, and Renfro.

Also this season, Moore will direct and design a new production of Rossini’s Guillaume Tell at Boston Lyric Opera, in collaboration with his artistic partner, director-designer Vita Tzykun.
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Other notable appearances include Moore’s staged, multimedia production of Schubert’s Winterreise at the Tel Aviv Museum of Art, Atlanta Opera, Portland Opera, National Sawdust NYC, Des Moines Metro Opera, and Anchorage Opera; Joseph DeRocher in Dead Man Walking with Lyric Opera of Kansas City and Des Moines Metro Opera, Stanley Kowalski in A Streetcar Named Desire with Virginia Opera; Prior Walter in Peter Eötvös’ Angels in America with MüPA Budapest, National Opera Wroclaw (Poland), and Fort Worth Opera; Eugene Onegin with the Atlanta Opera and Arizona Opera; Don Giovanni with Oper Kiel, Nashville Opera, and Chautauqua Opera; Count Almaviva in Le Nozze di Figaro with Palm Beach Opera, Opera Grand Rapids, and Festival Belle-Ile-en-Mer France; Carmina Burana with Israeli Opera, New Orleans Opera, and Festival Belle-Ile-en-Mer France; the title role in David T. Little’s Soldier Songs with San Diego Opera, Chicago Opera Theater, Austin Opera, Atlas Theater Washington D.C., Le Poisson Rouge NYC, the International Festival of Arts and Ideas, and on a commercial recording for Innova Records that was short-listed for a Grammy nomination; Lucifer in the world premiere of Peter Eötvös’ Paradise Reloaded with Neue Oper Wien; Zurga in Les Pêcheurs des Perles at Seattle Opera; Ford in Falstaff at Arizona Opera; Mercutio in Roméo et Juliette with San Diego Opera, Opera Theatre of St. Louis, Utah Opera, and Palm Beach Opera; Lescaut in Massenet’s Manon at Israeli Opera; Papageno in Die Zauberflöte at Austin Opera; Guglielmo in Così fan tutte with Seattle Opera, Palm Beach Opera, Central City Opera, Utah Opera, and Arizona Opera; Marcello in La Boheme at Pittsburgh Opera; Silvio in I Pagliacci for San Diego Opera and New Orleans Opera; Dr. Malatesta in Don Pasquale at Israeli Opera; Aeneas in Dido and Aeneas at Glimmerglass Opera and Time Warner Center NYC; Ned Keene in Peter Grimes at Israeli Opera; the title role in Kevin Puts’ The Manchurian Candidate at Austin Opera; Starbuck in Jake Heggie’s Moby Dick at Utah Opera; Jesus in Elgar’s The Apostles with the Netherlands Radio Symphony; Lord Rivers in Battistelli’s Richard III with Grand Théatre du Généve; Don Carlos in Dargomizhsky’s The Stone Guest at Avery Fischer Hall with the American Symphony Orchestra; Lt. Audebert in Puts’ Silent Night with Austin Opera; The Pilot in Rachel Portman’s The Little Prince with Tulsa Opera; and Escamillo in Carmen for the Lismore Festival Ireland.